About
Else Lapierre-Carden
I am a French fine art conservator who is passionate about art. After my degree at the Atelier du Temps Passe, I worked for several years in a Paris workshop with other conservators restoring paintings on wood, copper and canvas dating from the 16th Century to the present. I started my own workshop in 2014 in Auckland (New-Zealand). After 10 years working there I moved in Haarlem (the Netherlands). 2024 is a new start of the workshop !
I have completed numerous projects for both individuals and professionals, always driven by the Code of Ethics of this rewarding profession.
I am a member of "Restauratoren Nederland" association (Vereneiging voor Conservering en Restauratie).
Qualifications & Work History
National Degree in Conservation of Paintings & Polychrome’s Objects Restaurateur-Conservateur de tableaux & d’objets d’art polychromes, titre CNCP homologué par l’État), 2008. Atelier du Temps Passé, Paris, France www.atelierdutempspasse.fr
Since 2024, Haarlem, the Netherlands
2014-2023, Auckland, New-Zealand
Private Practice, Renaissance Tableau, www.renaissancetableau.com
2009-2013, Paris, France
Private Practice, Atelier Desautez-Quenessen, www.atelierdesquen.fr
2005-2008, Paris, France
* Studio Assistant, J. Agneray conservation studios, www.metiersdartpaysdauge.fr
* ADAC Association de Développement des Activités Culturelles,
Fine Art Restoration
Art conservation is an exciting and challenging multidisciplinary field that involves the examination, interpretation, analysis and treatment of cultural, historic and artistic objects. Professional conservators rely on their knowledge of both the humanities and the sciences in order to understand the creation and production of material culture in the past and present and to ensure its preservation for future generations.
The aim of the professional conservator is to stabilize, uncover, reveal and preserve the integrity of the original artwork, through minimal, well-documented treatments. Formal training and high standards of practice inform the conservator’s selection of stable, reversible materials and sensitive treatment methods, adjusted to each specific case.
Preventive conservation, including proper framing, environmental conditions, lighting, storage, handling and transportation are also important concerns. Ethical principles guide the conservator’s work, as detailed in the E.C.C.O (European Confederation of Conservator-Restorers) Code of Ethics. This publication may be viewed at:
https://www.restauratoren.nl/wp-content/uploads/e.c.c.o-20code-20in-20ned.pdf
The Workshop
The purpose-built workshop in Haarlem comprises a complete range of the required specialist tools.
Equipment includes a full-size pressure-heating table which is able to simultaneously apply consistent vacuum pressure and heat across large surfaces. This is essential for complex operations such as the conservation of damaged canvas. Ongoing research into the latest techniques and chemical products helps ensure best practices so that work is both reversible and stable over time.
Conservative Restoration
After a deep diagnosis of the painting, the restoration service focuses on treating damage and consolidating the structure through minimal interventions if possible. The studio undertakes a wide range of conservation and restoration work which includes removal and treatment of mould, support and surface consolidation, strip and full lining, tear mending, flattening (removal/ reduction of distortions), restretching. The emphasis is on conserving the painting and preventing the further evolution of problems.
Aesthetic Restoration
Once the preservation of the painting has been assured, the careful process of its aesthetic restoration can begin. Particular attention is paid to aesthetic integrity and the respect of historical meaning. Usual steps are dirt removal, varnish lightening, retouching of missing parts, and appropriate varnishing.
Portfolio
Recent projects before and after completion
Fleurs
Dutch Village
Oil on linen canvas 18th Century
Portrait de Flore
copy after Titian, 19th Century
Portrait de Famille
Oil on linen canvas Dutch Family, 19th Century
Detail Jeune Homme
Oil on linen canvas, 19th Century
Paysage
Oil on linen canvas, 19th Century
2 barques...
Oil on linen canvas, 19th CenturyPreventive Conservation at Home
What is Preventative Conservation?
Preventative conservation refers to the abating of potential deterioration and damage to a painting through previously designated policies and procedures surrounding the object’s storage and handling. These measures and actions are indirect – they do not interfere with the materials and structures of the items. They do not modify their appearance.
Light, heat, moisture, air pollutants, dust, dirt, insects, physical vibration and impact can lead to slow deterioration of, or sudden damage to, a painting. Paintings in art galleries and museums are kept in conditions which protect them from those things which cause material deterioration.
Rules for the conservation of artworks
Temperature/ relative humidity
Temperature and humidity control is an important factor in conserving artwork, as high temperature and humidity level can result in fungi or wrinkling in the art work, and low humidity can produce art works to peel off or crack. The appropriate temperature and humidity setting differs for each art work and material, but generally, a stable temperature between 18-20℃ and humidity level between 50-60% should be kept. (e.g. the Mona Lisa is kept at 19℃ and 55% relative humidity).
Lighting
Light (visible or invisible, natural or artificial, ultra violet and red rays) causes chemical changes in many materials used in paintings.
Ultra violet: yellowing and darkening of varnishes, discolouration of certain pigments, binders/ adhesives/ coating dissociation, varnish whitening.
Ultra red: (temperature increase) deterioration caused by the heat (natural light or halogens)
Make sure to put the lights distant from the painting. Use spots with a light illumination level below 180Lux for oil paintings and below 40 Lux for inks.
Dust, dirt, air pollutants, insects
Dust is composed of minute particles including some hard substances that can scratch paint or varnish if rubbed against the surface of a painting. Some types of dirt, including insect debris, can contain acidic components which eat into the paint surface. Similarly, industrial air pollutants can affect the paint or the finish on a frame. It is important to keep paintings free from dust and dirt and away from air pollutants.
Physical vibration or impact
Many paintings are on stretched canvas which is very susceptible to vibrational forces. Paint loss can eventuate from continual or excessive vibration. Paintings which travel from gallery to gallery are always transported in protective crates with foam padding to reduce vibration from movement and shock. Poor handling can result in severe damage to an artwork. Museums and galleries have guidelines and standards for moving works of art.
Biological factors
Artworks made of organic materials need special care and attention, as the nature of their material makes them highly susceptible to damages from microorganism (insects, fungus). Make sure your painting is avoiding dust and humidity.
